Dissertations / Theses: 'Sonata'

1

Stoltzfus, Andreas M. "Was There a Trumpet Sonata Before the Trumpet Sonata? an Investigation of Girolamo Fantini’s Trumpet Sonatas with Respect to Other Stile Moderno Solo Instrumental Sonatas." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804954/.

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In 1638 Girolamo Fantini wrote eight multi-sectional trumpet sonatas. This dissertation compares these sonatas with recognized stile moderno solo instrumental sonatas by Biagio Marini and Dario Castello in order to show that Fantini’s sonatas are stile moderno trumpet sonatas. This study looks at how form, texture, motivic organization, and instrumental effects function in the works of Castello, Marini, and Fantini. This comparison shows how and to what degree Fantini uses stile moderno characteristics in his works and concludes that Fantini’s sonatas are full-fledged examples of stile moderno trumpet sonatas.

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Dejos, Virginie. "Analyse et interprétation des six dernières sonates pour piano d’Alexandre Scriabine." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040224/document.

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La thèse porte sur les six dernières sonates de Scriabine. L’analyse des œuvres a été pensée en relation avec l’interprétation pianistique. L’univers de référence et l’imaginaire sonore de Scriabine sont reconstitués à partir de la perception des œuvres et des indications d’interprétation présentes dans les partitions. Une méthode inspirée par l’analyse schenkerienne est développée pour étudier les logiques d’écriture d’un langage dans lequel la notion de tonalité est considérablement élargie. La dernière partie, plus directement liée à l’interprétation, étudie les spécificités de l’écriture pianistique et des paramètres du timbre et du temps en s’appuyant sur l’étude d’enregistrements historiques
The following thesis focuses on the six final piano sonatas by Alexander Scriabin from the point of view of pianistic interpretation. The first part reconstitutes Scriabin’s unique musical and image-oriented universe from the basis of the listener’s perspective. The second part analyses the works from a musicological stand-point, taking into consideration indications on interpretation found in the scores. In order to more clearly identify the logic and structure of the musical language, which is marked by the usage of extended tonality, the analyses presented are inspired from Schenkerian traditions. The third part, directly linked to performance practises, explores the pianistic writing style as well as the timbral and temporal parameters, with an important place given to historical recordings

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Combs, Julia C. (Julia Carolyn). "Six Oboe Sonatas by Giuseppe Sammartini (Sibley Manuscript S. 189): With Critical Commentary and a Performing Edition of Sonata Five, a Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc330905/.

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The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The second recital was given on April 16, 1984 and included works by Johann Sebastian Bach, Georg Phillip Telemann, Ruth Crawford Seeger, and August Klughardt. The third recital was given on September 16, 1985 and included works by Paul Hindemith, Jean Franpaix, and Gary Smart. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.

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Ahlbäck, Pontus. "Sonata III : fingersättning och frasering i samverkan." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2093.

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Manuel M. Ponce skrev Sonata III 1927. Ponce var startkt influerad av kompositörer som Ravel och Debussy och i Sonata III:s första sats märks detta väl. Den är komponerad i en stil som liknar Ravels och Debussys impressionism, full med dramatiska harmonier, överlagringar och polytonalitet, med stora ackord följt av flytande arpeggion och sångbara melodier. Allt skrivet av en man som själv inte kunde spela gitarr, men förstod instrumentet väl. I detta arbete går jag igenom Sonata III:s första sats, genom en analys av formen och verket samt genom att gå igenom hur jag valt att tolka den och varför jag gjort dessa val.

Konsertrepertoar:

Manuel M. Ponce - Sonata III

Dionisio Aguado - Andante et Rondo Nr 2, Opus 2

Benjamin Britten - Nocturnal after John Dowland for guitar, Opus 70

Medverkande: Pontus Ahlbäck, gitarr.

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Gebel, der Jüngere Georg. "Sonata Es-Dur." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70100.

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Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.

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Gebel, der Jüngere Georg. "Sonata Es-Dur." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149779.

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Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.

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Skakun, Roman. "Sonata for Orchestra." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1123.

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Martinson, Benjamin. "Sonata for Piano." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337287364.

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Hayashida, Mami. "FROM SONATA AND FANTASY TO SONATA-FANTASY: CHARTING A MUSICAL EVOLUTION." Lexington, Ky. : [University of Kentucky Libraries], 2007. http://lib.uky.edu/ETD/ukymuar2007d00612/HayashidaDMADoc.pdf.

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Thesis (D.M.A.)--University of Kentucky, 2007.
Title from document title page (viewed on August 7, 2007). Document formatted into pages; contains: viii, 135 p. : ill., music. Includes abstract and vita. Includes bibliographical references (p. 127-133).

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Kleinmann, Johannes. "Polystylistic Features of Schnittke's Cello Sonata (1978)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30478/.

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Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.

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Johansen, Anna. "Interpretatorisk analys av Paul Crestons Sonata för Saxofon i Ess och Piano." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4049.

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Paul Creston var en nytänkande och delvis självlärd kompositör som år 1939 komponerade en sonat för saxofon och piano. Syftet med detta arbete var att genom en analys av Crestons sonat ge en enskild musiker ökad förståelse för musikaliska utmaningar. Genom en systematisk analysmetod uppbyggd av musikaliska former, teman, motiv och harmonik analyserades verket. Analysen utfördes först satsvis och därefter analyserades verket som helhet. Resultatet visade på att en djupgående musikalisk analys förbättrar musikerns interpretation och tolkning. Vidare presenterades även resultatet att musikanalys som verktyg i inövningen kunde förkorta själva inlärningsfasen i övningen. Diskussionen visade slutligen på att denna studie krävde fler liknande studier med större omfång för att med säkerhet stärka resultaten.

Inspelning bifogas med

Sonata för altaxofon i ess och piano, opus 19 Paul Creston Medverkande musikerAnna Johansen - saxofon Mårten Landström - piano

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Kang, Kyounglae Gina. "A STUDY OF THE THIRD PIANO SONATA OF CARL VINE (2007): THE MUSICAL CHARACTERISTICS OF THE THIRD SONATA COMPARED THROUGH THE FIRST SONATA AND SECOND SONATA AND PRACTICAL PERFORMANCE GUIDANCE." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338245430.

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Kim, Seong Ae. "Sonata for Violin and Piano." Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.

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My dissertation piece is a three-movement work of 20 minute duration for violin and piano that draws significantly from elements of traditional Korean culture, especially folk dance and folk music, and secondarily from Korean folk theater and visual arts using rhythmic patterns and gestures from folk dance and melodies from folk music and extended instrumental techniques that mimic the sounds of Korean traditional music and the music that typically accompanies Korean traditional dances.

The formal shape and material intentions of the piece— the fast-slow-fast tempo profile of the three movements, typical of so much Western music, is anchored conceptually in Korean ideas of "Heung" (communal joy-exploding energy) and "Han" (suffering-repressed energy). Each movement will make reference to a different folk music genre, the first movement alluding to "Sanjo," the second to "Gut," and the third from "Pungmul" (see chart). In addition, each movement will contain gestures from the Korean folk dances "Taepyongmu," "Sal puri," and "Sangmo Dolighi," all of which have different ceremonial functions in traditional Korean society. Each movement will also have its own characteristic folk rhythm pattern. The first movement will be based on an explicit Korean folk tune, while the overarching emphasis thematically in the three movements respectively will be "Garak" (melody), "Puri" (loosening), and "Nori" (fun).

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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.

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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.

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Yang, Eun-Kyoung. "The Piano Sonatas of Carl Vine: A Guideline to Performance and Style Analysis." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1048801477.

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Thesis (D.M.A.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains ix, 97 p.: ill., music. Includes abstract and vita. Advisor: Caroline Hong, School of Music. Includes bibliographical references (p. 96-97).

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Campbell, Alan Douglas. "The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.

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Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments of Michelle Fillion, J. P. Larsen, and Wilhelm Fischer are central to the discussion. Studies by William Caplin, Barbara Foster, Klaus Heimes, Ralph Kirkpatrick, and James Unger also contribute to the development of the theoretical base. An analysis section views the selected repertoire and some contemporary works according to the criteria the thesis establishes. An epilogue sums up pertinent observations made in the analysis section.

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Falterman, David. "Two-Dimensional Sonata Form as Methodology: Understanding Sonata-Variation Hybrids through a Two-Dimensional Lens." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505161/.

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One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.

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Treber, Stefan L. "A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28486/.

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This thesis examines the history and origins of Beethoven's E minor Piano Sonata and examines the possibility of the programmatic conception of the work. Dedicated to Beethoven's friend Count Moritz Lichnowsky, the sonata may have been inspired by the Count's illicit affair with his future wife, the singer and actress Josefa Stummer. Providing a thorough Schenkerian analysis of both movements, the inner harmonic structure of the composition is revealed and explained. The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse. Both English and German language sources are incorporated into a comprehensive examination of Beethoven's Piano Sonata, op. 90.

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Setsu, Eya. "Beethoven's “Kreutzer” SonataAn Analysis." University of Akron / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=akron1619616899745278.

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Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).

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Polk, Kristin Marie. "An analysis of form and tonality in Arnold Cooke's Sonata for oboe and piano (1957)." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6061.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 7, 2005, Oct. 10, 2005, Mar. 6, 2006, and Feb. 4, 2008. Includes bibliographical references (p. 29-30).

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Andrade, Liliana Michelsen de. "O primeiro movimento da Sonata II para piano solo de Bruno Kiefer : uma análise interpretativa." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10551.

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Este estudo do primeiro movimento da Sonata II para piano de Bruno Kiefer parte do ponto de vista do executante. Reunindo cartas, documentos e outras evidências do arquivo do compositor, apresenta uma análise que expõe uma concepção pessoal dos significados referenciais transmitidos pela obra. O entendimento da linguagem musical do compositor, obtido através dos processos composicionais e dos ambientes emocionais constituem-se em ferramentas de suporte para a interpretação.
This study approaches the first movement of Bruno Kiefer’s Piano Sonata II from the performer standpoint. Based on letters and other archival material as well as an extensive analysis of compositional elements, the author presents referencial meanings related to emotional states resulting in an interpretive analysis.

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Hung, Yu-Hsien Judy. "The Violin Sonata of Amy Beach /." [Baton Rouge, La. : Louisiana State University, 2005. http://etd.lsu.edu/docs/available/etd-04142005-224115/.

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Lindsay, Elizabeth. "Questions of identity: An Italian sonata." Thesis, Lindsay, Elizabeth (1996) Questions of identity: An Italian sonata. Honours thesis, Murdoch University, 1996. https://researchrepository.murdoch.edu.au/id/eprint/50672/.

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Perceptions of a multicultural Australia involve many questions about identity. Ideas about national, ethnic, community and individual identity are discussed and applied to the experience of migrants from Italy to a small rural Australian town: Collie. The research has been informed and inspired by interdisciplinary sources and generates a multiplicity of themes: religion, language, food and family all provide bases for reconstructing notions of hybridity, ethnicity and identity, as well as multiculturalism itself. The interdisciplinarity is further developed by practices such as the use of sonata form, taken from music, to present the research. The multiple aspects of individual identity are theorised as being mediated and elaborated by the interplay of a multiplicity of layers of influence. This process enables identity to be perceived as always being in transition, rather than having an absolute and/or immutable character. It also facilitates the validation of ideas of difference and suggests that new logics and methodologies are necessary in order to circumvent implications current in present perspectives. My case study uses the words of Italo-Australian migrants to elaborate this theoretical orientation to layered identity. The qualitative methodology is intended to open the words of participants to freely take the direction and construction of their own dialogue, enabling a critical understanding of the migrant experience. The research's interactive approach was aimed, through minimising invasiveness in the research process, to maintain a fluidity within and between research findings and their conceptualisation.

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Mastic, Timothy. "Normative Wit: Haydn's Personal Sonata Form." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19231.

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This thesis approaches Haydn’s sonata-form procedures from the perspective of the eighteenth-century listener, asking, if a moment is allegedly “witty” according to modern analysts, would Haydn's contemporary audience have heard it as such? Eighteenth-century wit has two sides: wit involves an aspect of surprise or deception, a breaking of understood norms; however, wit must also involve an unsuspected congruity, a broader connection created only by breaking the aforementioned norm. Taking this as my starting point, I explore false recapitulations in the Haydn’s music, concluding that this device cannot be considered witty because it did not break an understood convention. I then provide detailed analyses of the first movements of Haydn’s “Military” Symphony no. 100 and String Quartet in D major, op. 33 no. 6, arguing that they are witty not solely because they are disruptive, but because this disruption binds the sonata together in an unexpected way.

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Lertpibulchai, Korak. "Siam Sonata: Thai Solo Piano Works." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/4804.

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The final product of this project is a high-quality recording of solo piano works by three living Thai composers; Nat Yontararak, Atibhop Pataradetpisan and Siraseth Pantura-umporn. It also includes two Yontararak’s arrangements of songs by King of Thailand, Bhumibol Adulyadej. This recording consists entirely of solo piano works written and arranged by contemporary Thai composers. As a Thai-born pianist, I believe it is my privilege to promote Thai classical music. All pieces selected for this project demonstrate distinctively Thai characteristics, as well as pianistic techniques that are engaging to both the audiences and performers. The recording features Piano Sonata No. 3 “Siam Sonata” by Nat Yontararak, “Duality” by Atibhop Pataradetpisan, “Bells” by Siraseth Pantura-umporn, “Still on My Mind” and “Love in Spring” by H.M. King Bhumibol, arranged by Nat Yontararak. This recording project aims to archive three generations of composers living in present-day Thailand whose works fit exceptionally well for the solo piano. It is a part of my continuing efforts to open doors to future collaborations. As a Thai pianist, I am excited to be able to help foster a national identity through piano music.

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Solomons, John. "The six piano sonatas of James Sellars aspects of form, rhythm, texture and style /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/solomons%5Fjohn/index.htm.

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KWON, JUN. "Beethoven's Two-Movement Piano Sonatas and Their Predecessors." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212077710.

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Brynolf, Max. "Uppförande av Prokofjevs åttonde pianosonat : En musikalisk analys med fokus på spelteknik och interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4042.

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In this study, Prokofiev’s Eighth piano sonata was analyzed based on interpretation and technique. Prokofiev lived in the communist Soviet Union, during the middle of the Second World War, and wrote music with a lot of collected experience. The purpose of the study was to illustrate important interpretational- and technical aspects that are required to perform the sonata, based on personal experience. To accomplish this, the piece was practiced for several months, while continuously taking notes of my personal reflections based on the practice sessions and recordings. The study shows that the interpretation should strive to clarify different motives as well as enhancing contrasting characters in the music, while technical difficulties in demanding parts of the sonata often are solved by putting emphasize on evenness, and by considering input from several senses in the practice room. The results are useful for studying other large compositions and remain a documentation of how such extensive piano music can be approached.
I studien analyserades Prokofjevs åttonde pianosonat utifrån interpretation och spelteknik. Prokofjev befann sig i kommunistiska Sovjetunionen, mitt under andra världskriget, och skrev musik med mycket samlad erfarenhet. Syftet med studien var att belysa viktiga interpretations- och teknikbaserade aspekter vid uppförandet av sonaten, baserat på egen beprövad erfarenhet. För att åstadkomma detta övades stycket in under flera månader, medan reflektioner skrevs ner baserat på övningspassen samt inspelningar. Studiens resultat påvisar att tolkning bör göra motiven så tydliga som möjligt samt lyfta fram olika karaktärer i musiken som styrker temat, medan tekniska svårigheter i krävande partier ofta löses genom att fokusera på jämnhet samt att öva med flera sinnen i fokus. Resultatet är användbart även vid instudering av andra omfattande verk och är en dokumentation på hur sådan omfattande pianomusik kan tas an.

S. Prokofjev - Sonat nr 8, op 84

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Seidel, John A. (John Allen). "The Trombone Sonatas of Richard A. Monaco." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330825/.

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This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.

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Magarotto, Matteo. "The Interaction of Sonata Form and Schemata Derived from Galant Practice in the First Movements of Mozart's Keyboard Sonatas." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470754875.

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Ćojbašić, Ivana. "Content and Musical Language in the Piano Sonata of Sofia Gubaidulina, and Three Recitals with Works by Bach, Beethoven, Mozart, Chopin, Schumann, Debussy, and Rachmaninov." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935565/.

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Sofia Gubaidulina is one of the leading composers in the contemporary music world. Her compositional interests have been stimulated by the exploration of and improvisation with rare folk and ritual instruments, and by a deep-rooted belief in the mystical properties of music. Gubaidulina is the author of orchestral and choral works, compositions for solo instruments, chamber music, as well as electronics music. Gubaidulina's Piano Sonata sums up the composer's thinking within her piano music, and at the same time projects the development of her spiritual vision within other genres that are to come. The analytical approach in this paper is based on the correlation between each of the elements of the musical material (form, rhythm, sound, etc.) and its contextual meaning in terms of musical dramaturgy. Set-theory is applied to the analysis of motivic components of the work. The traditional form is just the basis for the original intonational structure within a modern musical idiom. Varieties of rhythmic patterns, as well as an unconventional sound production, make this work breath with an impetuous power. The examination of the Sonata's musical language and content should give some insight not only into Guabaidulina's piano music, but also into a consequent development of her compositional thinking.

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Manig-Sylvan, Joseph T., and Joseph T. Manig-Sylvan. "Bela Bartok: Sonata for Solo Violin (1944)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626226.

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Choa, Sharon Andrea. "Sonata-fugue in Joseph Haydn's string quartets." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/sonatafugue-in-joseph-haydns-string-quartets(82b5de10-3113-42a1-b683-c101cd19df3f).html.

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Richmond, Daniel. "An analysis of sonata for woodwind quintet." Thesis, Western Illinois University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10153462.

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Sonata for Woodwind Quintet is a three-movement work for woodwind quintet. This piece consists of three slow movements. It was composed between August 2014 and November 2015, as both a dedication and memorial to my friend, Kelsie Gleason. In this thesis I will briefly discuss my musical influences as well as present an analysis of the sonata's melodic content, form, and orchestration. This thesis is representative of my current compositional development.

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Maciel, Ruy Homem de Mello. "A forma sonata em descontinuidades e bifurcações." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-10112010-140659/.

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Este trabalho propõe um novo modelo de análise musical, em complementação à análise harmônica tradicional, com o estabelecimento de dois atratores - a partir da dilatação da estabilidade harmônica a partir do séc. XVIII e da resolução da dicotomia temática, condições fundamentais para a existência do modelo Sonata - definidos como catástrofe elementar com um fator de controle e dois atratores a partir da Teoria das Catástrofes de René Thom e da simultânea identificação de conflitos formais na análise estrutural, estética e harmônica da Forma Sonata, determinando seu ponto de catástrofe e definindo a mudança total em seu formato, que passa a comunicar uma nova estrutura formal diante da ultrapassagem da curva da descontinuidade.
This project proposes a new model of musical analysis, complementary to the traditional harmonic analysis. The establishment of two attractors issued from the expansion of the 18th centurys harmonic stability and from the thematic resolution of the thematic dichotomy, basic conditions for the Sonata Forms existence is its starting point, which defines an elementary catastrophe with one control factor from the René Thoms Catastrophe Theory. The simultaneous identification of formal conflicts in the structural, aesthetics and harmonic analysis of the Sonata Form is a further condition to determine its degenerate critical point and to define the total change in its format, which is to communicate a new formal structure after passing through its pitchfork bifurcation.

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Nummela, Arttu. "Dmitri Shostakovich’s Viola Sonata : History and analysis." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3485.

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In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future.

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Chasin, Ibaney. "Forma sonata: o drama musical do dilaceramento." Universidade Federal de Minas Gerais, 1990. http://hdl.handle.net/1843/BUOS-9P8HA5.

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A dissertação tem por objrtivo central a determinação do conteúdo próprio a Forma Sonata beethoveniana. Em outros termos, o que se pretendeu capturar e explicitar foi a lógica essencial dessa específica expressão musical, a razão de ser de seu ser-precisamente-assim. Dada a proposta assumida e perseguida, julgou-se adequado dividir o texto em duas partes distintas e conexas. Na primeira procura-se delinear, a partir da análise dos movimentos em Forma Sonata das sonatas pianisticas de Beethoven, o conteúdo neles presente, ou seja, determinar o que a Forma Sonata diz. Nesse sentido, a análise tecno-formal desenvolvida possui, simultaneamente, dimensão estética: a determinação da lógica de sua organicidade formal - a descrição e análise de seu modo de estruturação - e concomitantemente uma tentativa de elucidar as razões que a tornam aquilo que precisamente é. A divisão e o conteúdo dos Capitulos que integram a Parte I podem ser sintetizados como se segue. No Capítulo I, cujo título - A Exposição - corresponde à designação da seção ou parte inicial da Forma Sonata, procura ser demonstrado que essa seção estrutural se realiza como dação de forma a uma colisão entre pólos ou regiões musicais distintas; forças que se realizam enquanto tal a partir de dois pólos, regiões ou tonalidades musicais específicas - tônica e dominante. No Capítulo 2 - O Desenvolvimento - designação da segunda parte estrutural da Forma Sonata, procura-se estabelecer que a função por ela cumprida é a de concretar a colisão configurada pela Exposição, ou seja, intenta-se explicitar que o Desenolvimento de uma obra arquitetada em Forma Sonata se põe como radicalização, aprofundamento ou intensificação da colisão polar. É dito, em última análse, que o Desenvolvimento é a corporificação musical da exteriorização do caráter da colisão, ou ainda, que é a configuração de seu desenvolvimento ou desdobramento. O Capítulo 3 - A Reexposição - analisa esta que é a terceira e última parte constitutiva da Forma Sonata, buscando evidenciar, por seu turno, que esse momento do discurso musical é dação de forma a " resolução" da colisão posta e desenvolvida. Em outros termos, quer demonstrar que a Reexposição é a consubstanciação de um dever-ser, que é expressão da tentativa de dar forma musical à superação do conflito polar fragmentário configurado pela Exposição e radicalizado no Desenvolvimento. O Capítulo 4, por fim, objetiva evidenciar e reafirmar a consistência da análise e das reflexões efetivadas ao longo dos capítulos anteriores, a partir do exame e tematização detalhados da Op. 106 - Hammerklavier - talvez a mais densa sonata pianística de Beethoven, por isso mesmo típica objetivação da lógica que matriza a Forma Sonata. Na parte II do texto, por um lado, busca-se dar concreção às determinações anteriores, que não poderiam ultrapassar um dado nível de explicitação da lógica do objeto no plano da análise tecno-formal. Esta, isoladamente tomada, não é capaz de revelar a malha determinativa substancial de uma forma ou gênero estético. De outra parte, procura fundamentar estético-filosoficamente aquilo que foi posto e conquistado na Parte I. Nesse intinerário, é sustentado que a Forma Sonata é um drama sob forma musical - Capítulo I -. Determinação que subentendeu a tematização da forma dramática na literatura. O que é sustentável na exata medida em que essa expressão sonora se realiza como configuração e "resolução" de uma colisão (tônica e dominante) são geneticamente interconectadas, ou seja, como essas forças estão primariamente em vinculação intrínseca, unitária, o Capítulo 2 sustenta a interpretação de que o drama configurado pela Forma Sonata, dado seu solo genético humano-societário - também tematizado nesse Capítulo por extensão - é o drama do homem dividido, do homem dilacerado do universo do capital. Por fim, o Capítulo 3, que desenvolve suscinta tematização sobre algumas categorias estéticas fundamentais, pretende fundar e reafirmar o conteúdo básico que procura ser demonstrado e defendido ao longo de toda dissertação. Conteúdo que pode ser resumido na seguinte colocação: A Forma Sonata é dação de forma musical ao nexo essencial que matriza a individualização na sociedade do capital. Em termos mais concretos, a Forma Sonata é a dação de forma à dilaceração ou frgamentação do homem do mundo burguês, à inautencidade da vida regida pelo capital, à impossibilidade objetiva da auto-construção da personalidade. Impossibilidade que é traduzida em perda de humanidade, em dilaceração ou ruptura do indivíduo que, ao perder sua intrínseca dimensão genérica, perde a si mesmo.

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Weyer, Waldo Wilhelm. "Die interpretasie van Charles E. Ives se Concord Sonate volgens sy Essays before a sonata / Waldo Wilhelm Weyer." Thesis, North-West University, 2004. http://hdl.handle.net/10394/237.

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The Concord Sonata by Charles Edward lves (1874-1954) concerns the musical representation of the writers R.W. Emerson, N. Hawthorne, Bronson and Louisa May Alcott, and H. Thoreau, who lived and worked in Concord, Massachusetts, during 1840- 1860. The composer has set out a detailed programme for the sonata in his Essays before a sonata to inform the interpreter as to what his impression of these writers entails. This programme also presents philosophical ideas to be realized musically and two questions are subsequently raised: *How can the Essays assist the pianist to gain a better understanding of the programme? *What musical devices in the score can be associated with the programmatic ideas in the Essays? The aim of this study is to determine how the Essays before a sonata can enhance the performer's insight regarding the interpretation of the Concord Sonata. Ives' aesthetical ideas are linked with both the programme of the composition and the techniques used to realise it. The hypothesis holds that lves has mediated in his Essays before a sonata between an artistic and analytical approach to the Concord Sonata, especially where the abstract ideas of the programme are concerned. A model was developed to investigate lves' unique realization of the sonata form. In the course of the work he combined a cumulative structure and a crystallizing technique to issue in the most important theme. The "human-faith-melody" emerges fully in the third movement and becomes the transcendental tune in the last, played by a flute. Other musical devices incorporated in the model include lves' use of quotation, fragmentation, polistylistic writing, and the cyclic principle. His collage technique demonstrates the characteristics of the transcendental writers (i.e. quotation, reiteration, parody, aphorisms, rhetoric, a deep respect for and interest in nature, and an inherent heterogeneous style). This multi-dimensional writing constitutes a significant ambiguity that enables lves to communicate a philosophical message of the eminent and influential transcendental writers, which he revered.
Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2004.

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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
School of Music

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Freitas, Stefanie Grace Azevedo de. "Marlos Nobre - sonata para piano sobre tema de Bartók Op. 45 : uma abordagem analítica do fenômeno intertextual." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17708.

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Este trabalho apresenta uma análise da Sonata para piano sobre tema de Bartók op.45 (2003) do compositor Marlos Nobre (1939) com o objetivo de identificar os elementos apropriados do primeiro movimento do Concerto para Orquestra (1943) do compositor húngaro Béla Bartók (1881-1945) e investigar como esses elementos são inseridos e metamorfoseados na linguagem de Nobre. Foram utilizados como referenciais teóricos os autores Straus (1990) e Hyde (1996) que estudam o fenômeno da intertextualidade na música. Este trabalho divide-se em duas etapas: a primeira consiste em uma revisão da literatura sobre a intertextualidade na música e sobre estilos e influências detectadas nos processos composicionais e a segunda, em uma análise formal, intertextual e comparativa entre a Sonata op. 45 de Nobre e o Concerto de Bartók.
This dissertation, while presenting an analysis of Sonata para piano sobre tema de Bartok op. 45 (2003) composed by Marlos Nobre (1939), aims at identifying elements appropriated from the first movement of Concerto for Orchestra (1943) composed by the Hungarian Bela Bartok (1881-1945). Based on works by Straus (1990) and Hyde (1996), phenomena identified as intertextuality in music establish the main focus of this text divided into two mains sections. The first section deals with a review of the literature geared to the study of intertextuality in music, as well as aspects of style and matters of influence within the compositional processes. The second section offers a formal, intertextual and comparative analysis of Nobre´s Sonata op. 45 in relation to Bartok´s Concerto for Orchestra.

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Wang, Yuchi Sophie. "Edward MacDowell: A Poetic Voice as Seen in the “Eroica” and “Keltic” Sonatas." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396533402.

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Covarrubias, Ahedo Virginia. "Three Main Chamber Music Works for Strings and Piano by the Mexican Composer Manuel M. Ponce." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/95.

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This essay examines the three main large-scale chamber music works for strings and piano written by the Mexican composer Manuel M. Ponce: the Romantic Trio for violin, cello and piano (1912), the Sonata for violoncello and piano (1922), and the Sonata Breve for violin and piano (1930). The purpose of the study is to aid chamber music performers in the understanding, preparation and execution of these works. Written contextually for performing musicians, the format for the study of the individual works includes sections on historical background and commentary on analysis and performance considerations. In addition, each work exemplifies a different musical stage in Ponce's compositional development. The author traces the composer's compositional and stylistic evolution throughout the study of these works. The essay also includes a comprehensive biography of Ponce and a general overview of the composer's chamber music works.

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Navia, Gabriel Henrique Bianco. "The Medial Caesura in Schubert's Sonata Forms: Formal and Rhetorical Complications." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613235.

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Schubert's treatment of the medial caesura differs on many levels from that of the Classical tradition. He problematizes many of its norms, introducing complications to the course of his sonata movements. Much research has been devoted to Schubert's approach to sonata form, his large-scale formal deformations as well as his innovative harmonic language. However, few of these writings have discussed the importance of the medial caesura to his sonata forms. Through the lens of Sonata Theory, this dissertation examines Schubert's handling of the MC, demonstrating how the complications derived from his unorthodox practice modify the structural and rhetorical layout of his pieces. I investigate Schubert's approach to three stages surrounding the MC articulation, TR and the energy-gaining process, the MC point of articulation, and the S-theme, discussing specific formal and rhetorical complications that arise from each of them. In chapter 1, I reconsider Schubert's MC practice from a dialogical perspective, demonstrating how some non-normative procedures (in Classical terms) became the norm within his own style. In chapter 2, I examine the impact of two common Schubertian procedures on the function, perception, and meaning of the MC: tonally over-determined TRs and the early arrival of the secondary key within TR. Finally, in chapter 3, I demonstrate how Schubert broadened the available cadential arrangements within MC pairs in declined-MC situations, exploring the expressive potential of normative/non-normative dual oppositions. The conclusion shows that 1) Schubert's stylistic preferences radically expand many of the default procedures posited by Sonata Theory, inviting refinements of the theory; and 2) that the Schubertian MC may incorporate two structural roles beyond its most fundamental function as a formal articulator: clarification of the function of a formally ambiguous passage, which is often connected to cases of tonal over-determination or the early arrival of the secondary key; and introduction of tonal and formal complications into the work's trajectory, invoking some kind of "correction" or compensation.

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Otsuka, Magaly. "Marlos Nobre : aspectos motivisticos em duas peças para piano : Sonata Breve, opus 24 (1966/2000) e Tango, opus 61 (1984)." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285081.

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Orientador: Maria Lucia Senna Machado Pascoal
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T21:59:24Z (GMT). No. of bitstreams: 1 Otsuka_Magaly_M.pdf: 33490955 bytes, checksum: ded56a65b8d2b2470ab8f8a7de5d7d16 (MD5) Previous issue date: 2008
Resumo: Esta pesquisa tem como objetivo principal o estudo analítico e interpretativo de duas peças para piano de Marlos Nobre: Sonata Breve, opus 24 (1966/2000) e Tango, opus 61 (1984). A metodologia abrange três pontos principais: o levantamento biográfico e histórico da vida do compositor; o estudo do material musical e de técnicas de análise; a leitura e análise das peças, bem como o levantamento das dificuldades encontradas e as sugestões de estudo. O trabalho se justifica pela necessidade do estudo e divulgação da música contemporânea brasileira, como também pela contribuição para as pesquisas no campo das Práticas Interpretativas. A bibliografia trata de assuntos relacionados à análise e aos princípios de técnica pianística. A conclusão aponta as principais características do idioma pianístico do compositor, referentes às duas peças, utilizando a análise e as experiências adquiridas durante o estudo, resultando em possíveis soluções para uma interpretação consciente.
Abstract: The main goal of this research is the analysis and interpretative study of two of Marlos Nobre's piano pieces: Sonata Breve, opus 24 (1966/2000) and Tango, opus 61 (1984). The methodology includes three main points: to introduce the biography and historical data of the composer's life; study of the musical material and analysis techniques; to read and analyze both pieces, as well as to show the difficulties and propose studies suggestions. Another purpose of this study can be justified by the need for the study and promotion of contemporary Brazilian music and its contribution for the researches of Interpretative Practices. The bibliography deals with topics related to analysis and principles of pianistic techniques. The Conclusion section shows the main characteristics of the composer's pianistic idiom, related to both pieces, using the analysis and experience acquired during this study, with the intent of finding solutions for a consistent interpretation.
Mestrado
Mestre em Música

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Jenkins, Kyle Joseph. "S-C Complications in Nineteenth-Century Sonata Movements." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/333483.

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Many have noted nineteenth-century composers' tendency to undermine crucial formal boundaries normally found in eighteenth-century sonata forms. This dissertation examines phenomena that undermine the demarcation between the expositional secondary theme and closing section. In this document I refer to such events as "S-C Complications." In their Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (2006), James Hepokoski and Warren Darcy argued that this point of articulation plays a much more crucial role than that of merely forming a boundary between S- and C-space. Rather, it serves as the goal for the entire expositional trajectory, a goal whose presence is felt from the very outset of the movement. The authors refer to this moment as "essential expositional closure," or EEC. In this dissertation I attempt to show what role EEC in Hepokoski and Darcy's sense plays in nineteenth-century movements featuring S-C Complications. I conclude that nineteenth-century composers were very likely aware of the EEC's genre-defining status since they consistently and systematically undermined it. Further, whereas in the late-eighteenth-century repertoire S-C complications were rarely employed, in the nineteenth century they became more normative, and thus non-deformational. In addition to discussing the phenomena's dialogic relationship with eighteenth-century norms, I also address their effect on tonal structure and formal syntax, concluding that S-C Complications frequently have the effect of expanding closure beyond the scope of one cadence. For practical reasons I have limited the scope of this study to non-concerto movements written primarily by Schubert, Mendelssohn, and Brahms.

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Jancewicz, Peter. "Four piano recitals and an essay, Franz Liszt's Sonata in B-minor : interpreting articulation markings." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23104.pdf.

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Cord, John T. "Francis Poulenc's Sonata for Horn, Trumpet and Trombone: A Structural Analysis Identifying Historical Significance, Form and Implications for Performance." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12104.

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Yoon, Hyekung. "An Introduction of Carl Vine’s Three Piano Sonatas with Emphasis on Performance and Practice Suggestions for Sonata No.2 (1997)." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291218628.

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Kaplan, Joseph W. "Not a sonata| A conception of Sonata-Allegro form and a consideration of two marimba works from a Langerian perspective." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527961.

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Susanne Langer (1895-1985) was an American philosopher of the twentieth century whose work can be seen as an extension of Ernst Cassirer's The Philosophy of Symbolic Farms (1923-1929). She is known for applying the scientific logic of symbolic forms as laid out by Cassirer, Whitehead, Russell, Boole, and others to create a coherent theory of art. She then developed her art theory into a unified philosophy of life from abiogenesis to the human experience of sentience and the cultures of behavior that produces.

This study introduces some of Langer's basic concepts and uses them to construct a theory of Sonata-Allegro form. This discussion is followed by a critical analysis of two of the author's own works with an eye towards exposing some of the compositional difficulties in producing Sonata-Allegro forms.

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Dissertations / Theses on the topic 'Sonata'

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